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Form and Symmetry: Art and Science

Buenos Aires Congress, 2007


KOLAROVA Vassilena

Name: KOLAROVA Vassilena.

Address: Doctoral student Université Paris VII Denis Diderot, Grands Moulins, 75 205 Paris cedex 13. E-mail:
Fields of interest: art, literature, the relationship between arts, form, symmetry, semiotics.
Publications: Applied Semiotics, Sémiotique appliquée, Une revue internationale de recherche littéraire sur
Internet, Numéro 17, Volume 7, Sémiotique, religion et idéologie, « L’indicible chez Michel Butor , L’indicible
sur l’Amérique ou le sublime des œuvres ineffables », juin 2006, Toronto, Canada.
Passage d’encres, N 27, “ Le Paradis de rêve...Le Jardin Catalan... », Romainville, février 2007
10 Early Fall School of semiotics,Culture and text, TOM X EFSS, 2004, published in bulgarian The literature
textuality – basic artistic element in “The Nausea”

Abstacts: Signs of the world, Interculturality and Globalisation on 8th Congress

of International Association of Semiotic Studies, The globalisation of the senses,
“Semantique des couleurs dans “La Modification” de Michel Butor” , p.541-p.542,
2004 The interface between pictures and verbal signs, “Traits interartistiques dans
“L’Autoportrait” de Montaigne” , p.556-p.557, 2004, and online Journal“CULTURE”,
12th May 2006, number 18, « Le Château mental de Michel Butor, à l’occasion de
l’anniversaire des 80 ans de l’écrivain », bulgarian edition, references on the Exposition
of the 13 artists around Butor, published in Bulgarian Literary Journal, « Michel Butor,
en hommage de ses 80 ans », publié en bulgare octobre 2006. Journal of the Bulgarian
Academy of Science, edition of the Institute of History of art “Problems of art”, “Dream
paradise…….the Catalonian garden…”, published in Bulgarian, number 3, Sofia,
Bulgaria Book published in Bulgarian: « The interartistic phenomenon in the literary
text through «Essays » of Montaigne and « Mobile » of Butor, The Catalonian garden of
Butor and Badin”, published by “ Prostranstvo i forma”, Sofia, 2007.

This study presupposes to call as such the phenomenon triggering the spiritual and
physical beauty, which everyone touched by art is able to feel, from the point when
several components combine to form one whole.
The issues that draw our attention are a small part of the boundless doctrine on
intermediality and they come from the area of art where the definition intermediality may
also be applied, but it does not explain to the necessary extent the difference between
the common intermedial practice and the intermediality between arts. We would like
to narrow the problem down more specifically to the relationship between arts, to the
interartistic. Narrowing the field of research even more, we shall examine the relationship
between arts. We introduce the definition of interartistic phenomenon to better explain
the close relationship that exists between the arts since within the scientific field there is
a need to set apart the idiosyncrasy of the relationship between arts and their modeling

within any kind of artistic field.
Since a decade, and most of all in recent years, a number of concepts have become more
and more abundant, struggling to emerge on the surface, in the area of scientific world,
to be able better to express the inexpressible, which never ceases to bother the world in
its everyday life.

In connection with studying the meaning of the form in the literary and artistic text as a
whole, we shall narrow down the research mainly to seeking interartistic configurations.
The text, due to its polyvalence, is capable of presenting different interpretative fields.
We may connect the text to different interpretative fields due to the epistemological
origination based on the signifier.
Considering the infinite nature of intermediality, which nowadays is the subject of
international research, we must limit the field of study to several areas. Several
categories were established, concerning the relations between arts, among which also
the intermediality of arts, which in this study we shall name interartistic phenomenon
concerning the relations, which bring the arts closer to one another. The intermediality of
arts is distinguished from the general perception of intermediality since art has specific
nature and must be set apart as element of the general concept of intermediality.
In the International Dictionary of Literary Terms the term interart, which includes a
whole list of terms with reference to it, expresses the relationship between arts. This
is a definition of first rank. The list of terms, which are near its meaning, includes: la
mise en abyme, l’ekphrasis, le livre d’artiste, l’hypertexte, l’intermedialite, le media, le
croisement, la photo, la reecriture…
Interartiality is examined by Walter Moser from the University of Ottawa in the lecture
“Interartiality: Contribution to an Archeology of Intermediality”, officially opening the
Conference of 1 October 2003 of the IV International Colloquium, organized by the
Center for Research on Intermediality (CRI) at the University of Montreal.
Since the notion we are examining is of global nature, initially we analyze it from biblical
and semiotic point of view, as two mutually complementing and intersecting lines.
The second axis along which we examine this notion is poeticism and aestheticism, which
are intermingling at a semiotic level in the works of Yulia Krasteva and Gerard Genette, in
order to derive interartistic approach in the literary theory and to discover the intermedial
structure of arts through the body of works of art and in the changes in the genres of the
works in time and space. The interartistic phenomenon differs from intertextuality since
it affects only art.
From semiotic point of view we create a common meeting point of the studies on art of:
Kant, Cassirer, Peirce, by bringing closer their ideas or their mutual adoption, suggested
by Wildgen . This opinion may be further elaborated more specifically in the field of art.
The biblical approach is involved also in the methods of Kant, Cassirer, Peirce, whose
works we use as a proof of the interartistic phenomenon. This is valid also for the more
recent studies of Fontanius, Wildgen, Bordron. With Jelmslev the relationship between
the two planes expresses interartistic phenomenon.
The birth of the interartistic phenomenon in the more recent works in a peculiar way
influences the appearance of new genres like artistic books. In this respect emblematic
is the “Catalonian Garden” of Butor and Baden of 2000. We rediscover it also in the old
genres like the essay of Montaine. Semiotically we may interpret the interartistic structure
of the sophisticated artistic sign through the polyvalent sign of Yelmslev or the specific

symbolic form of art according to Cassirer, which apostle Paul reflects in the bible by the
confession: “Gifts may vary, but the spirit is the same”. In this case it is not a matter of
transposition from one art to the other as methodology where also an interartistic effect
is observed, (this methodology suits Andre Gide in “The Coin Counterfeiter” where the
musical creation of Bach influences the construction of the literary), but rather the meeting
between arts in the text. An example of a typical case of interartistic phenomenon is “The
Nausea” by Sartre where music exists concurrently as text and as song, hence the meeting
of literature – music. The interartistic phenomenon may be determined as an abstract
surface, which is the basis for a wide artistic field made of energetic interartistic strands.
Interartisticity is understood as a field where different arts of a particular field intersect.
The borders between arts, since they are no longer sharply outlined, are deleted in order
to merge into a second degree, higher up. The interartistic phenomenon emerges during
the very encounter between arts in the text, at the same place and time:
1. one art may give rise to another
2. a given term may have an interartistic origin, like the pastiche (Genette) 3.
3. a given text may concentrate arts in a different way
It is precisely the concentrating over particular time-space relations of the intuitive
cognition within any work of art that gives birth to the interartistic phenomenon which,
depending on the interpretation, initiates the creation of a new piece whose nature is
interartistic.Every single art in a unique way enters into dialogue with the rest of arts,
because each art by itself is unique.From the global perspective we may say that we attend
the occurrence of the interpictural (as a specific case of interartisticity) with Montaine,
while in “The Nausea” of Sartre we are able to distinguish intermusicality as a variation
of the interartistic present still on the paratextual level . We see also that in the title of
“The Compositions” of Kandinski a mingling of different shades between interpicturality
and intermusicality is reached. This mixed ratio is emblematic. It is expressed to the full
in the artistic book – a new, modern genre, to which the original creation of Baden and
Butor belongs – the “Catalonia Garden”. The interartistic phenomenon may be applied to
any work of art, which touches several arts. The total structure, which combines all arts,
this absent structure, which is hunted along the border between the signs, can be found
in each work of art. It is the component, which gives a complete, unique sparkle to the

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